She went abruptly into the house and sought for Stephen—as with a sword. But Stephen was not discoverable. She ran to her elegant new bedroom and shut herself in. She understood the plot. She had plenty of wit. Stephen had concerted it with Felix. In spite of Stephen’s allegations of innocence, the hat had been sent somewhere—probably to Brunt’s at Hanbridge—to be copied at express speed, and Stephen had presented the copy to Felix, in order that Felix might present it to Mary Callear the chambermaid, and the meeting in the front garden had been deliberately arranged by that odious male, Stephen. Truly, she had not believed Stephen capable of such duplicity and cruelty.
She removed the hat, gazed at it, and then tore it to pieces and scattered the pieces on the carpet.
An hour later Stephen crept into the bedroom and beheld the fragments, and smiled.
‘Stephen,’ she exclaimed, ‘you’re a horrid, cruel brute.’ ‘I know I am,’ said Stephen. ‘You ought to have found that out long since.’
‘I won’t love you any more. It’s all over,’ she sobbed. But he just kissed her.
VERA’S FIRST CHRISTMAS ADVENTURE
I
Five days before Christmas, Cheswardine came home to his wife from a week’s sojourn in London on business. Vera, in her quality of the best-dressed woman in Bursley, met him on the doorstep (or thereabouts) of their charming but childless home, attired in a teagown that would have ravished a far less impressionable male than her husband; while he, in his quality of a prosaic and flourishing earthenware manufacturer, pretended to take the teagown as a matter of course, and gave her the sober, solid kiss of a man who has been married six years and is getting used to it.
Still, the teagown had pleased him, and by certain secret symptoms Vera knew that it had pleased him. She hoped much from that teagown. She hoped that he had come home in a more pacific temper than he had shown when he left her, and that she would carry her point after all.
Now, naturally, when a husband in easy circumstances, the possessor of a pretty and pampered wife, spends a week in London and returns five days before Christmas, certain things are rightly and properly to be expected from him. It would need an astounding courage, an amazing lack of a sense of the amenity of conjugal existence in such a husband to enable him to disappoint such reasonable expectations. And Cheswardine, though capable of pulling the curb very tight on the caprices of his wife, was a highly decent fellow. He had no intention to disappoint; he knew his duty.
So that during afternoon tea with the teagown in a cosy corner of the great Chippendale drawing-room he began to unfasten a small wooden case which he had brought into the house in his own hand, opened it with considerable precaution, making a fine mess of packing-stuff on the carpet, and gradually drew to light a pair of vases of Venetian glass. He put them on the mantlepiece.
‘There!’ he said, proudly, and with a virtuous air.
They were obviously costly antique vases, exquisite in form, exquisite in the graduated tints of their pale blue and rose.
‘Seventeenth century!’ he said.
‘They’re very nice,’ Vera agreed, with a show of enthusiasm. ‘What are they for?’
‘Your Christmas present,’ Cheswardine explained, and added ‘my dear!’
‘Oh, Stephen!’ she murmured.
A kiss on these occasions is only just, and Cheswardine had one.
‘Duveens told me they were quite unique,’ he said, modestly; ‘and I believe ‘em.’
You might imagine that a pair of Venetian vases of the seventeenth century, stated by Duveens to be unique, would have satisfied a woman who had a generous dress allowance and lacked absolutely nothing that was essential. But Vera was not satisfied. She was, on the contrary, profoundly disappointed. For the presence of those vases proved that she had not carried her point. They deprived her of hope. The unpleasantness before Cheswardine went to London had been more or less a propos of a Christmas present. Vera had seen in Bostock’s vast emporium in the neighbouring town of Hanbridge, a music-stool in the style known as art nouveau, which had enslaved her fancy. She had taken her husband to see it, and it had not enslaved her husband’s fancy in the slightest degree. It was made in light woods, and the woods were curved and twisted as though they had recently spent seven years in a purgatory for sinful trees. Here and there in the design onyx-stones had been set in the wood. The seat itself was beautifully soft. What captured Vera was chiefly the fact that it did not open at the top, as most elaborate music-stools do, but at either side. You pressed a button (onyx) and the panel fell down displaying your music in little compartments ready to hand; and the eastern moiety of the music-stool was for piano pieces, and the western moiety for songs. In short, it was the last word of music-stools; nothing could possibly be newer.
But Cheswardine did not like it, and did not conceal his opinion. He argued that it would not ‘go’ with the Chippendale furniture, and Vera said that all beautiful things ‘went’ together, and Cheswardine admitted that they did, rather dryly. You see, they took the matter seriously because the house was their hobby; they were always changing its interior, which was more than they could have done for a child, even if they had had one; and Cheswardine’s finer and soberer taste was always fighting against Vera’s predilection for the novel and the bizarre. Apart from clothes, Vera had not much more than the taste of a mouse.
They did not quarrel in Bostock’s. Indeed, they did not quarrel anywhere; but after Vera had suggested that he might at any rate humour her by giving her the music-stool for a Christmas present (she seemed to think this would somehow help it to ‘go’ with the Chippendale), and Cheswardine had politely but firmly declined, there had been a certain coolness and quite six tears. Vera had caused it to be understood that even if Cheswardine was NOT interested in music, even if he did hate music and did call the Broadwood ebony grand ugly, that was no reason why she should be deprived of a pretty and original music-stool that would keep her music tidy and that would be HERS. As for it not going with the Chippendale, that was simply an excuse … etc.
Hence it is not surprising that the Venetian vases of the seventeenth century left Vera cold, and that the domestic prospects for Christmas were a little cold.
However, Vera, with wifely and submissive tact made the best of things; and that evening she began to decorate the hall, dining-room, and drawing-room with holly and mistletoe. Before the pair retired to rest, the true Christmas feeling, slightly tinged with a tender melancholy, permeated the house, and the servants were growing excited in advance. The servants weren’t going to have a dinner-party, with crackers and port and a table-centre unmatched in the Five Towns; the servants weren’t going to invite their friends to an evening’s jollity. The servants were merely going to work somewhat harder and have somewhat less sleep; but such is the magical effect of holly and mistletoe twined round picture-cords and hung under chandeliers that the excitement of the servants was entirely pleasurable.
And as Vera shut the bedroom door, she said, with a delightful, forgiving smile–
‘I saw a lovely cigar-cabinet at Bostock’s yesterday.’
‘Oh!’ said Cheswardine, touched. He had no cigar-cabinet, and he wanted one, and Vera knew that he wanted one.
And Vera slept in the sweet consciousness of her thoughtful wifeliness.
The next morning, at breakfast, Cheswardine demanded—
‘Getting pretty hard up, aren’t you, Maria?’
He called her Maria when he wished to be arch.
Well,’ she said, ‘as a matter of fact, I am. What with the—’
And he gave her a five-pound note.
It happened so every year. He provided her with the money to buy him a Christmas present. But it is, I hope, unnecessary to say that the connection between her present to him and the money he furnished was never crudely mentioned.